Pinin Brambilla Barcilon Archive
Turin, Galleria Sabauda, Sandro Botticelli (and students), Madonna and Child, Angel and St. John, Painting on panel
Description Report, handwritten notes; phototypes (positive, negative).
consistency
Quantity 1|49|7|23|1
Type positive document(s) on paper up to 21x29 cm, slide(s) up to 6x6 cm, negative on film up to 10x15 cm, non-standard phototype(s)
Description Conservation status report.....36 positive b/w 18x24 cm, 6 positive colour 18x24 cm, 4 positive b/w 25x30 cm, 3 positive b/w 6x6 cm (test specimens)............................................................................................................................................................................................................................
Reordering sign
APBB_CTRS_F208_29; APBB_CTRS_C40_29
Report on the state of conservation in draft and photographic documentation relating to the intervention carried out on the painting depicting a Madonna with Child, Angel and St. John attributed to Sandro Botticelli and students. The photographs illustrate the phases before and during the restoration of the work.
It also contains: handwritten notes on color analysis, with photographs attached.
Facilitated description
The work "Madonna with Child, Angel and St. John", attributed to the workshop of Sandro Botticelli and now known as "Madonna with Child and St. John", is a painting on panel of about 1490-1505 preserved at the Galleria Sabauda in Turin.
The restorer Pinin Brambilla Barcilon restored the work in 1982-1983.
The work was in poor condition due to a thick layer of dust and the deterioration of the paints.
The color was fragile and detached into small scales.
During the cleaning (cleaning the surface of the artwork from the dirt deposited over time), the restorer restored the original colours, especially in the sky and in the green, blue and purple tones of the Virgin’s robe.
Scientific analyses have revealed the use of shaded veils (transparent layers of color).
The restoration has made it possible to understand that the figure of St. John is unfinished by the artist.
This is evident from the left foot and the change in arm size and position.
CCR and accessibility
